The Keys give you a show above and below the surface. From art galleries to museums and live music, no place inspires more freedom of expression. In The Keys, you’re part of the performance.
VisitFloridaKeys.com/arts-culture 1.800.Fla.Keys
THE DONALD J. TRUMP AND THE JOHN F. KENNEDY
MEMORIAL CENTER FOR THE PERFORMING ARTS, FEBRUARY 10 & 11, 2026 AT 8 P.M. | CONCERT HALL
Andrew Lipke, vocalist
India Carney, vocalist
Khalil Overton, vocalist
Please note Radiohead does not perform at this concert.
THANK YOU TO OUR SEASON SPONSORS
The NSO Music Director Chair is generously endowed by Roger Sant and Congresswoman Doris Matsui Noseda Era Fund Supporters The Amici di Gianandrea
Patrons are requested to turn off cell phones and other electronic devices during the performance. Any video and/or audio recording of this production is strictly prohibited.
Dear Friends,
As we celebrate the National Symphony Orchestra’s 95th season, I want to take a moment to express my heartfelt thanks to you—our devoted patrons, supporters, and friends. Your presence this evening, and your unwavering support throughout the year, mean more than words can convey. It is your love of music, your generosity, and your steadfast belief in the arts that delight this remarkable orchestra.
In 1931, Hans Kindler founded the NSO with a bold vision: to build a world-class symphony orchestra in the heart of our nation’s capital. Nearly a century later, that vision continues to be our driving force. Today, under the dynamic artistic leadership of Gianandrea Noseda, we are more inspired than ever to share powerful performances with our audiences. The NSO is not simply an orchestra; it is a family of artists joined together through a shared love of music, unity of purpose, and commitment to something greater than us.
The NSO is more than what you see on stage—it is a living, breathing institution devoted to enriching lives. Our robust education and community engagement programs reach thousands of students, educators, and families each year. Between our Youth Fellowship Program and Summer Music Institute, to Young People’s Concerts, we strive to make music accessible to everyone—especially the next generation.
This commitment to connect with broader audiences is also seen through our vibrant, genre-defying series, led by the remarkable Steven Reineke, our Principal Conductor and Artistic Advisor. Steven brings a wide-reaching musical vision to the NSO, bridging genres and generations. His programming has opened the door for new audiences to discover a love for orchestral music, while continuing to captivate longtime fans with the highest levels of artistry.
As we embark on this milestone season, we are reminded that our journey would not be possible without you. Thank you for being an essential part of this vibrant and enduring musical community.
With deepest gratitude and warmest regards,
Jean Davidson Executive Director National Symphony Orchestra
Cari amici,
It is with immense joy and anticipation that I welcome you to the National Symphony Orchestra’s 95th anniversary season. This moment is more than a milestone—it is a celebration of our deep musical legacy and a renewed commitment to bringing powerful, moving performances to our community and beyond. This is only the beginning. The 95th season is filled with musical discovery, celebrated artists, and unforgettable experiences.
This season features iconic works that have stood the test of time, from classic masterpieces to thrilling contemporary music. The NSO also has the opportunity to share the stage with an exceptional lineup of guest artists and conductors—beloved icons and rising stars alike. Performing new music is something the NSO truly believes in. Make history with us as we present innovative new works, including five world premieres.
It is with immense joy and anticipation that I welcome you to the National Symphony Orchestra’s 95th anniversary season. This moment is more than a milestone—it is a celebration of our deep musical legacy and a renewed commitment to bringing powerful, moving performances to our community and beyond. This is only the beginning. The 95th season is filled with musical discovery, celebrated artists, and unforgettable experiences.
I am deeply grateful to share this journey with you. Your presence in the Concert Hall is what brings our music fully to life. Thank you for being a part of the NSO family—for your passion, your applause, and your unwavering support.
I am deeply grateful to share this journey with you. Your presence in the Concert Hall is what brings our music fully to life. Thank you for being a part of the NSO family—for your passion, your applause, and your unwavering support.
Con tutto il cuore,
Con tutto il cuore,
Gianandrea Noseda
Gianandrea Noseda
Music
Music Director, National Symphony Orchestra
Director, National Symphony Orchestra
Che la musica vi porti gioia e ispirazione—may music bring you joy and inspiration.
Che la musica vi porti gioia e ispirazione—may music bring you joy and inspiration.
Steve Hackman, conductor & creator
Composer, arranger, producer, songwriter, conductor, and pianist Steve Hackman is the musical polymath at the center of the most exciting productions in the orchestral space. Whether writing for the concert stage or screen, collaborating with today’s most compelling artists, or contributing to the Oscars® and Emmys®, Steve is becoming the first call original voice shaping today’s most important musical events, scores, and concerts.
Steve has collaborated with Jon Batiste, Charlie Puth, Lizzo, RZA, Wyclef Jean, Steve Lacy, Doja Kat, Moses Sumney, Kanye West (on the opera Mary), and most recently with Ariana Grande and Cynthia Erivo on the Wicked TV special for NBC.
Steve’s 16 barrier-shattering orchestral fusions, which synthesize the great works of classical music with towering figures from contemporary popular music, have led to performances around the world of titles such as Brahms X Radiohead, Beethoven X Beyoncé, and Tchaikovsky X Drake with orchestras in Los Angeles, New York, Chicago, Dallas, Philadelphia, Boston, and over 50 others. Expansion into Europe and the Middle East is planned. 2026 will see an ambitious music release schedule from Steve that will showcase the many sides of his artistry: music spanning from ballet scores that fuse electronics with orchestra to his concept art-piece THE BRINK; solo piano pieces; and reimaginings of some of the great music of today, including Frank Ocean, Jacob Collier, and Kendrick Lamar.
Steve’s first movie soundtrack came out on November 26 for Netflix’s holiday caper Jingle Bell Heist. Trained classically at the Curtis Institute of Music in conducting, composition, and counterpoint, Steve’s musical curiosity from the youngest age also led him to be immersed in alternative, rap/hip-hop, electronic, and art music—which you can hear in every original note he writes today. Steve is managed by Ty Stiklorious and Graham Parker.
Follow Steve at @stevehackmanmusic
Andrew Lipke is a Philadelphiabased, South African-born composer, producer, arranger, conductor, vocalist, multiinstrumentalist, and educator active in many styles across multiple genres.
As a composer, Lipke has written works for ensembles such as the Aizuri Quartet, the Carpe Diem String Quartet, Choral Arts Philadelphia, Philadelphia Bach Collegium, the Chamber Orchestra of Philadelphia, virtuosic vocal sextet Variant 6, and many others.
Lipke has released seven selfproduced albums of original music encompassing a wide variety of musical styles, from early madrigal vocal music to aggressive hard rock. His music has been described as “liberated pop—ambitious long-form songs with harmonic freedom and emotional range unstymied by strict radio formats” (David Patrick Stearns, Philadelphia Inquirer), and he has been praised for his “smartly constructed lyrics and gorgeously orchestrated
melodies” (A.D. Amorosi, City Paper).
In addition to his own material, Lipke has produced dozens of recordings for artists in the Philadelphia region, many of them engineered by himself in his studio, The Record Lounge.
As an arranger and a conductor, Lipke has worked extensively with American singer-songwriter Amos Lee, initially providing orchestrations for Lee’s 2015 album, Live at Red Rocks (with the Colorado Symphony), and continuing to orchestrate additional material for Lee’s performances with prominent American orchestras, including those of Philadelphia, Nashville, Los Angeles, Oregon, St. Louis, Utah, and Seattle. In 2019, Lee returned to Red Rocks in a performance featuring Lipke conducting the “Red Rocks Chamber Orchestra,” assembled specifically for the event. Past conducting engagements include the National Symphony Orchestra at the Trump Kennedy Center, Atlanta Symphony Orchestra, Nashville Symphony, Dallas Symphony Orchestra, Colorado Symphony, Grand Rapids Symphony, Southwest Florida Symphony, and Santa Barbara Symphony.
As multi-instrumentalist, Lipke spent more than a decade touring the country with the highly successful Led Zeppelin tribute band Get The Led Out as keyboardist, guitarist, and vocalist, and he has also traveled extensively as vocalist with conductor and composer Steve Hackman’s symphonic synthesis Brahms X Radiohead, including performances with the Philadelphia Orchestra, Pittsburgh Symphony Orchestra, San Diego Symphony, Indianapolis Symphony Orchestra, Colorado Symphony, Columbus Symphony, Charlotte Symphony Orchestra, North Carolina Symphony, and San Francisco Symphony.
From 2015 to 2019, upon invitation from esteemed maestro Dirk Brossè, Lipke was in collaboration with the
Chamber Orchestra of Philadelphia, where he created, curated, and hosted an innovative, cross-genre concert series entitled “Intersect,” exploring the common attributes of music that transcend genre and style.
Passionate about music education, Lipke—through his involvement with the Philadelphia-based nonprofit World Cafe Live—has collaborated with several members of the Philadelphia Orchestra and other established local and regional musicians, creating cross-genre presentations for underserved youth, highlighting the transformative and boundary-crossing nature of music. Lipke was an artist-in-residence at Philadelphia’s Science Leadership Academy in connection with the commissioning of Julia Wolfe’s 2015 Pulitzer Prize–winning composition, Anthracite Fields, and, since 2016, Lipke has been in residence with Philadelphia high school Hill Freedman World Academy, writing, arranging, producing, and recording albums of original music created in collaboration with the students, resulting in six critically acclaimed albums.
Lipke also taught a semester of private composition lessons to students at the Hartt School of Music at the University of Hartford upon special invitation from the faculty. Lipke’s latest artistic endeavor is an album cycle based on Hermann Hesse’s groundbreaking novel Siddhartha: Siddhartha (2015); Kamala & The Child People (2020); and the final installment, Murmurs of The River (2021). He is currently at work on multiple projects, including his first opera, The Foundling Wheel, about the famed Ospedale della Pietà of Venice.
India Carney is a multi-talented solo artist with a wide range of dynamic performing experience. At home with audiences across the country and abroad, Carney’s original music features a mix of her classical, pop, R&B, a cappella, and theatrical influences. Carney’s versatility shines through her work as a soloist or in collaboration, whether as singer, songwriter, arranger, actress, or vocal coach. With an already strong foundation as a social media influencer, Carney’s fans watched her launch on an international scale when she competed as a Top 5 Artist on season eight of NBC’s Emmy®-Awardwinning series The Voice. Carney has toured and performed with award-winning artists such as Olivia Rodrigo, Katy Perry, Lady Gaga, Mariah Carey, Christina Aguilera, H.E.R., and more. She’s performed on live television broadcasts of the Grammy® Awards, the B.E.T.® Awards, Late Night with Jimmy Fallon, and The Ellen DeGeneres Show. Despite Carney’s active performance schedule, her passion extends to education as a vocal coach and mentor, developing the next generation of talented singers on shows like American Idol, I Can See Your Voice, and Alter Ego, as well as with arts foundations like YoungArts and Find Your Light. She is an alumna of UCLA (Bachelor in Music Performance, Minor in Music Industry), Manhattan School of Music (Pre-college), and LaGuardia High School (the “Fame School”) in New York City.
In May of 2021, Carney released her debut single, “Human,” a deeply
personal anthem exploring themes of equality, empathy, and human connection. Her most recent project, “Recovery,” was released in October 2024, with many more to follow.
Khalil Overton is an R&Brooted multiinstrumentalist and singersongwriter from Philadelphia, Pennsylvania. He attended
the Girard Academic Music Program (GAMP) for three years, in addition to touring the world with the Keystone State Boychoir (KSB). After studying songwriting at Berklee College of Music in Boston, where his creative scope blossomed, Overton moved to New York City to perform regularly as a dueling pianist in Times Square and as a front man for several corporate bands in the area. Overton has shared stages with George Clinton (Parliament-Funkadelic), Bernie Worrell, and Bilal, among others. Overton now lives in Los Angeles, where he is writing and recording his own original music.
The 2025–2026 season is the National Symphony Orchestra’s 95th and Music Director Gianandrea Noseda’s ninth season. Gianandrea Noseda serves as the orchestra’s seventh music director, joining the NSO’s legacy of distinguished leaders: Christoph Eschenbach, Leonard Slatkin, Mstislav Rostropovich, Antal Doráti, Howard Mitchell, and Hans Kindler. Its artistic leadership also includes Principal
Conductor and Artistic Advisor Steven Reineke.
Since its founding in 1931, the NSO has been committed to performances that enrich the lives of its audience and community members. In 1986, the National Symphony became an artistic affiliate of the John F. Kennedy Center for the Performing Arts, where it has performed since the Center opened in 1971. The 96-member NSO participates in events of national and international importance, including the annual nationally televised concerts on the lawn of the U.S. Capitol, live-streamed performances on medici.tv, and local radio broadcasts on WETA Classical 90.9 FM.
Since launching its eponymous recording label in 2020, the NSO has embarked on ambitious recording projects, including its first complete Beethoven Symphony cycle and the release of the first-ever cycle of George Walker’s Sinfonias, both led by Noseda. Recent projects include Four Symphonic Works by Kennedy Center Composer-in-Residence Carlos Simon conducted by Noseda, and William Shatner’s So Fragile, So Blue, recorded live in the Concert Hall with the NSO under Steven Reineke. Forthcoming releases with Gianandrea Noseda include music by Gustav Mahler and William Grant Still, as well as Samuel Barber’s opera Vanessa.
The NSO’s community engagement and education projects are nationally recognized, and career development opportunities for young musicians include the NSO Youth Fellowship Program and its acclaimed, tuitionfree Summer Music Institute.
Symphony
An extended work with multiple sections—typically four movements.
A “symphonic” piece is a long piece with multiple interpretations of a musical idea. A repeated, transformed musical idea is called a theme.
Orchestra
A group of musicians who play together.
In the Western European tradition, an orchestra often includes the four major instrument families—brass, woodwinds, strings, and percussion. An especially large orchestra is called a symphony orchestra. A smaller orchestra is called a chamber orchestra
Movement
A section of a musical work. Movements are often separated by silences, and they typically differ in tempo—speed.
Concerto
A piece pairing a technically advanced soloist with the support of an orchestra, usually in three movements. Though there may be multiple soloists, the contrast between a larger ensemble and a soloing group defines a concerto.
Suite
Multiple pieces intended to be performed together. Suites may take from larger works such as an opera or a ballet. For 17th- and 18th-century works, “suite” often refers to a sequence of dances in the same key.
Sonata
Originally, a musical composition played on instruments. In modern usage, “sonata” can mean a piece for a soloist or an ensemble, often with two to four movements.
If a work or a movement is written in sonata form, it is structured in three sections: exposition, development, and recapitulation.
Overture
An orchestral instrumental introduction to a dramatic musical work, such as an opera or a ballet. Composers, particularly those of the Romantic Period, sometimes composed independent concert overtures, intended to begin a larger musical program.
Romantic Music
Works associated with the 19th-century Romantic Period. Building off the intellectual innovation of the Romanticism movement, Romantic music emphasizes self-expression, emotion, and experimentation.
Tempo Markings
Largo - slow, broad
Adagio - slow, at ease
Andante - moderately slow, walking pace
Andantino - slightly faster than andante
Moderato - moderate
Allegretto - slightly slower than allegro
Allegro - fast, bright
Vivace - fast, lively
Presto - very fast
Prestissimo - rapidly
Additional Markings
Pochettino - very little
Poco - a little Meno - less
Ma non troppo - but not too much
Più - more
Molto - very
Assai - very
Quasi - almost, as if Maestoso - majestically
Semplice - simply
Con fuoco - with fire
Mosso - with motion and speed
Tranquillo - peacefully
Misterioso - mysteriously
Ritenuto - abruptly slowed
GIANANDREA NOSEDA , MUSIC DIRECTOR
The Roger Sant and Congresswoman Doris Matsui Chair
STEVEN REINEKE , PRINCIPAL CONDUCTOR AND ARTISTIC ADVISOR
VIOLINS
Nurit Bar-Josef, Concertmaster
Ying Fu, Associate Concertmaster, The Jeanne Weaver Ruesch Chair
Ricardo Cyncynates, Assistant Concertmaster
Xiaoxuan Shi, Second Assistant Concertmaster
Jane Bowyer Stewart
Heather LeDoux Green
Lisa-Beth Lambert
Jing Qiao
Marina Aikawa
Peiming Lin
Derek Powell
Regino Madrid**
Meredith Riley**
Marissa Regni, Principal
Dayna Hepler, Assistant Principal
Cynthia R. Finks
Deanna Lee Bien
Glenn Donnellan
Natasha Bogachek
Carole Tafoya Evans
Jae-Yeon Kim
Wanzhen Li
Hanna Lee
Benjamin Scott
Malorie Blake Shin
Angelia Cho
Kei Sugiyama**
VIOLAS
Daniel Foster, Principal, The Mrs. John Dimick Chair
Dana Kelley, Assistant Principal
Denise Wilkinson
Nancy Thomas
Jennifer Mondie
Tsuna Sakamoto
Ruth Wicker
Mahoko Eguchi
Abigail Evans Kreuzer
Rebecca Epperson
Chiara Dieguez**
Jacob Shack**
CELLOS
David Hardy, Principal, The Hans Kindler Chair, The Strong Family and the Hattie M. Strong Foundation
Raymond Tsai, Assistant Principal
David Teie
James Lee
Rachel Young
Mark Evans
Eugena Chang Riley
Loewi Lin
Britton Riley
Noah Krauss
BASSES
Robert Oppelt, Principal
Richard Barber, Assistant Principal
Jeffrey Weisner
Ira Gold
Paul DeNola
Charles Nilles
Alexander Jacobsen
Michael Marks
HARP
Adriana Horne, Principal
FLUTES
Aaron Goldman, Principal
Leah Arsenault Barrick, Assistant Principal
Matthew Ross
Carole Bean, Piccolo
OBOES
Nicholas Stovall, Principal, The Volunteer Council Chair
Jamie Roberts, Assistant Principal
Harrison Linsey***
Kathryn Meany Wilson***, English Horn
CLARINETS
Lin Ma, Principal
Eugene Mondie, Assistant Principal
Paul Cigan
Peter Cain, Bass Clarinet
BASSOONS
Sue Heineman, Principal
David Young, Assistant Principal
Steven Wilson
Sean Gordon, Contrabassoon
HORNS
Abel Pereira, Principal, The National Trustees’ Chair
James Nickel, Acting Associate Principal
Markus Osterlund***
Scott Fearing
Robert Rearden
Geoffrey Pilkington**
TRUMPETS
William Gerlach, Principal, The Howard Mitchell Chair, The Strong Family and the Hattie M. Strong Foundation
Michael Harper, Assistant Principal
Michail Thompson
Tom Cupples
TROMBONES
Craig Mulcahy, Principal
Evan Williams, Assistant Principal
David Murray
Matthew Guilford, Bass Trombone
TUBA
Stephen Dumaine, Principal, The James V. Kimsey Chair
TIMPANI
Jauvon Gilliam, Principal, The Marion E. Glover Chair
Scott Christian, Assistant Principal
PERCUSSION
Eric Shin, Principal, The Hechinger Foundation Chair
Erin Dowrey, Assistant Principal
Scott Christian
Jason Niehoff*
KEYBOARD
Lambert Orkis, Principal
Lisa Emenheiser*
ORGAN
William Neil*
LIBRARIANS
Elizabeth Cusato Schnobrick, Principal
Zen Stokdyk, Associate
Karen Lee, Assistant
PERSONNEL
Karyn Garvin, Director
Sufyan Naaman**, Coordinator
STAGE MANAGERS
David Langrell, Manager
N. Christian Bottorff, Assistant Manager
The National Symphony Orchestra uses a system of revolving strings. In each string section, untitled members are listed in order of length of service.
*Regularly Engaged Extra Musician
** Temporary Position
***Leave of Absence
ADMINISTRATION
Jean Davidson, Executive Director
Sabryn McDonald, Executive Assistant
EXECUTIVE TEAM
Kasama Apfelbaum, Vice President, Financial Planning & Analysis
Nigel Boon, Vice President, Artistic Planning
John Roloff, Vice President, Orchestra Operations
ARTISTIC PLANNING
Justin Ellis, Senior Producing Director
Ana Vashakmadze, Assistant Artistic Administrator
DEVELOPMENT
Laney Pleasanton, Manager, NSO Individual Giving
Pamela Wardell, Senior Director of Development
EDUCATION
Vanessa Thomas, Director of Education Activation & Engagements
FINANCE AND ADMINISTRATION
Eric Rubio, Director of Finance & Administration
HUMAN RESOURCES
Tony Amato, Director, Total Rewards
Chanel Kemp, Talent Acquisition Manager
Patrice McNeill, Director, HR Operations
Lisa Motti, HRIS Coordinator
Ericka Parham, Benefits Analyst
John Sanford, Senior Business Partner
MARKETING & ADVERTISING
Scott Bushnell, Senior Director, Creative and Brand Strategy
Lily Maroni, Senior Manager, Advertising Communications
Elizabeth Stoltz, Advertising Production & Special Projects Assistant Manager
Derek Younger, Director, Sales & Ticketing Service
ORCHESTRA OPERATIONS & CONCERT PRODUCTION
Brooke Bartolome, Orchestra Personnel and Operations Manager
Joseph Benitez, Media & OPAS Support Coordinator
N. Christian Bottorff, Assistant Stage Manager
Cayley Carroll, Director, Production & Orchestra Operations
Karyn Garvin, Director of Orchestra Personnel
David Langrell, Stage Manager
Sufyan Naaman, Personnel and Auditions Coordinator
Ava Yap, Operations Assistant
PUBLIC RELATIONS
Amanda Fischer, Deputy Director of Public Relations
President, John F. Kennedy Center for the Performing Arts
President, John F. Kennedy Center for the Performing
President, John F. Kennedy Center for the Performing Arts
President, John F. Kennedy Center for the Performing
President, John F. Kennedy Center for the Performing Arts
Chief Financial Officer
Ambassador Richard Grenell
Ambassador Richard Grenell
Ambassador Richard Grenell Chief Financial Officer
Ambassador Richard Grenell Chief Financial Officer
Ambassador Richard Grenell Chief Financial Officer
Donna Arduin
Ambassador Richard Grenell Financial Officer
General Counsel
Donna Arduin
Donna Arduin
Chief Financial Officer Donna Arduin
Donna Arduin General Counsel
General Counsel
General Counsel
Berke
Berke
General Counsel Elliot Berke
Berke
Berke
Donna Arduin General Counsel
Berke
Senior Vice President, Development
Senior Vice President, Development
Dale
Senior Vice President, Development
Senior Vice President, Development
Senior Vice President, Development
Vice President of Human
Dale
Senior Vice President, Marketing
Senior Vice President, Marketing
Senior Vice President, Marketing
Senior Vice President, Marketing
Senior Vice President,
Osborne
Osborne
Osborne
Senior Vice President, Marketing������������������������������������������������������������������������������������������������������������������������������� Robin Osborne
Osborne
Senior Vice President, Special
Senior Vice President, Special
Senior Vice President, Special Events
Senior Vice President, Special Events
Senior Vice President, Special Events
Donlon
Donlon
Donlon
Senior Vice President, Development Lisa Dale
Donlon
Vice President, Human
Vice President, Human
Vice President, Human
Vice President, Human
Vice President, Human Ta’Sha Bowens
Vice President, Public Relations Roma Daravi
Vice President, Operations
Vice President, Operations
Vice President, Operations
Vice President, Operations
Vice President, Operations
Executive Director, National Symphony Orchestra Jean Davidson
Vice President, Education
Vice President,
Vice President, Education
Vice President, Education
Vice President, Special Events
Vice President, Education
Bronagh Donlon
Vice
Vice President, Public
Vice President, Public Relations
Vice President, Public Relations
Vice President, Facilities Matt Floca
Vice President, Public Relations
Chief Information Officer
Chief Information Officer
Chief
Chief Information Officer
Vice President, Education Jordan LaSalle
Chief Information Officer
Executive Director, National Symphony Orchestra
Executive Director, National Symphony
Executive Director, National
Executive Director, National Symphony Orchestra
Executive Director, National Symphony
Chief Information Officer Bob Sellappan
General Director, Washington National
General Director, Washington
General Director, Washington National
General Director, Washington National
General Director, Washington
Theater Manager
Theater Manager Allen V. McCallum Jr.
Theater Manager
Theater Manager
Theater Manager Allen V. McCallum Jr.
Box Office Treasurer
Box Office Treasurer
Allen V. McCallum Jr.
Theater Manager Allen V. McCallum Jr.
Allen V. McCallum Jr.
Deborah Glover
Box Office Treasurer Deborah Glover
Deborah Glover
Box Office Treasurer
Deborah Glover
Box Office Treasurer Deborah Glover
Box Office Treasurer Deborah Glover
Head Usher
Head Usher
Head Usher Cathy Crocker
Head Usher
Stage Crew
Cathy Crocker
Head Usher Cathy Crocker
Cathy Crocker
Head Usher Cathy Crocker
Stage Crew Zach Boutilier, Michael Buchman, Paul Johannes, April King, John Ottaviano, and Arielle Qorb
Boutilier, Michael Buchman, Paul Johannes, April King, John Ottaviano, and Arielle Qorb
Stage Crew Zach Boutilier, Michael Buchman, Paul Johannes, April King, John Ottaviano, and Arielle Qorb
Stage Crew Zach Boutilier, Michael Buchman, Paul Johannes, April King, John Ottaviano, and Arielle Qorb
Zach Boutilier, Michael Buchman, Paul Johannes, April King, John Ottaviano, and Arielle Qorb
Stage Crew Zach Boutilier, Michael Buchman, Paul Johannes, April King, John Ottaviano, and Arielle Qorb
*Represented by ATPAM, the Association of Theatrical Press Agents and Managers.
*Represented by ATPAM, the Association of Theatrical Press Agents and Managers.
*Represented by ATPAM, the Association of Theatrical Press Agents and Managers.
*Represented by ATPAM, the Association of Theatrical Press Agents and Managers.
*Represented by ATPAM, the Association of Theatrical Press Agents and Managers.
*Represented by ATPAM, the Association of Theatrical Press Agents and Managers.
Steinway Piano Gallery is the exclusive area representative of Steinway & Sons and Boston pianos, the official pianos of the Kennedy Center.
Steinway Piano Gallery is the exclusive area representative of Steinway & Sons and Boston pianos, the official pianos of the Kennedy Center.
Steinway Piano Gallery is the exclusive area representative of Steinway & Sons and Boston pianos, the official pianos of the Kennedy Center.
Steinway Piano Gallery is the exclusive area representative of Steinway & Sons and Boston pianos, the official pianos of the Kennedy Center.
Steinway Piano Gallery is the exclusive area representative of Steinway & Sons and Boston pianos, the official pianos of the Trump Kennedy Center.
Steinway Gallery is the exclusive area representative of Steinway & Sons and Boston pianos, the official pianos of the Kennedy Center.
The box office at the Kennedy Center is represented by I.A.T.S.E, Local #868.
The box office at the Kennedy Center is represented by I.A.T.S.E, Local #868.
The box office at the Trump Kennedy Center is represented by I.A.T.S.E, Local #868.
The box office at the Kennedy Center is represented by I.A.T.S.E, Local #868.
The box office at the Kennedy Center is represented by I.A.T.S.E, Local #868.
The box office at the Kennedy Center is represented by I.A.T.S.E, Local #868.
The technicians at the Kennedy Center are represented by Local #22, Local #772, and Local #798 I.A.T.S.E.
The technicians at the Kennedy Center are represented by Local #22, Local #772, and Local #798 I.A.T.S.E.
The technicians at the Trump Kennedy Center are represented by Local #22, Local #772, and Local #798 I.A.T.S.E.
The technicians at the Kennedy Center are represented by Local #22, Local #772, and Local #798 I.A.T.S.E.
The technicians at the Kennedy Center are represented by Local #22, Local #772, and Local #798 I.A.T.S.E.
AFL-CIO-CLC, the professional union of theatrical technicians.
The technicians at the Kennedy Center are represented by Local #22, Local #772, and Local #798 I.A.T.S.E. AFL-CIO-CLC, the professional union of theatrical technicians.
AFL-CIO-CLC, the professional union of theatrical technicians.
AFL-CIO-CLC, the professional union of theatrical technicians.
AFL-CIO-CLC, the professional union of theatrical technicians.
AFL-CIO-CLC, the professional union of theatrical technicians.
The American Guild of Musical Artists, the union of professional singers, dancers and production personnel in opera, ballet and concert, affiliated with the AFL-CIO, represents the Artists and Staging Staff for the purposes of collective bargaining.
The American Guild of Musical Artists, the union of professional singers, dancers and production personnel in opera, ballet and concert, affiliated with the AFL-CIO, represents the Artists and Staging Staff for the purposes of collective bargaining.
The American Guild of Musical Artists, the union of professional singers, dancers and production personnel in opera, ballet and concert, affiliated with the AFL-CIO, represents the Artists and Staging Staff for the purposes of collective bargaining.
The American Guild Musical Artists, the union of professional singers, dancers and production personnel in opera, ballet and concert, affiliated with the AFL-CIO, represents the Artists and Staging Staff for the purposes of collective bargaining.
The American Guild of Musical Artists, the union of professional singers, dancers and production personnel in opera, ballet and concert, affiliated with the AFL-CIO, represents the Artists and Staging Staff for the purposes of collective bargaining.
The American Guild of Musical Artists, the union of professional singers, dancers and production personnel in opera, ballet and concert, affiliated with the AFL-CIO, represents the Artists and Staging Staff for the purposes of collective bargaining.
National Symphony Orchestra musicians are represented by the Metropolitan Washington, D.C. Federation of Musicians, AFM Local 161-710.
National Symphony Orchestra musicians are represented by the Metropolitan Washington, D.C. Federation of Musicians, AFM Local 161-710.
National Symphony Orchestra musicians are represented by the Metropolitan Washington, D.C. Federation of Musicians, Local 161-710.
National Symphony Orchestra musicians are represented by the Metropolitan Washington,
National Symphony Orchestra musicians are represented by the Metropolitan Washington, D.C. Federation of Musicians, AFM Local 161-710.
National Symphony Orchestra musicians are represented by the Metropolitan Washington, D.C. Federation of Musicians, AFM Local 161-710.
Each month, the National Symphony Orchestra (NSO) spotlights a different staff member. For this program, bass player Charles Nilles discusses Bassgiving, bassist stereotypes, and the true meaning of bass face.
Name: Charles Nilles
Hometown: Chicago, Illinois
Instrument: Bass
Years with the NSO: 15
Is there a stereotypical bassist personality, and, if so, do you think you fit it? I think so. I think our whole bass section fits that personality. Bass players tend to be pretty laid back and silly, and our section in particular gets along so well. That dynamic goes beyond a performance or a rehearsal day—we’ve got this awesome text thread, we have bass hangs…. We actually started this thing called Bassgiving. There’s always a Pops concert the day after Thanksgiving, and we’ll bring a big plate of leftovers and a bottle of something and have a potluck between the rehearsal and the concert. Anyone’s invited.
Would you say the bass section has the most fun? Well, we’re kind of sitting in the back of the bus. Where the violins are in a long row, spread out across the stage, we’re just in this blob in the back. That allows us to get away with more than people may realize: there’s some of us that will provide a little more commentary under our breath throughout the happenings of rehearsal. You’ll see someone giggling silently—“shoulder wiggles,” we call it. And whenever the bass players have stuff on the low extension (an added mechanism for playing lower notes), the trombone players will look over like prairie dogs, and we’ll make faces back. We have some inter-section shenanigans.
In your own words, what is bass face? Bass face is an angry yet satisfied acknowledgement of what is going on—disgusted, but nodding in approval. It usually happens when we’re playing a famous bass lick or something very loud. Jauvon Gilliam, our principal timpani, and I share a mutual timpani-bass face; oftentimes, there are unison timpani and double bass parts, like in a Bruckner symphony. Even in the concerts, when we’re done playing, Jauvon and I will look at each other and flex the guns—give our biceps a kiss.
What’s one favorite backstage memory at the NSO? My kids adore our stage door security gal, Ms. B. She’s always like, “Where are my babies at?” Once, when we were working with the children’s book author Mo Willems, I was backstage with my son Steven. Mo saw me with my son, and he’s such a nice, approachable guy, so we stopped. I said, “Steven, this is Mo Willems. He drew and wrote the Elephant & Piggie books.” Steven was holding my hand, and he looked at Mo, then he looked at me, and he said, “Can we go see Ms. B now?”
What’s your favorite part of your life outside of the NSO? My family, first of all. I’m lucky that we work lots of nights and weekends, so I have a lot of daytime availability. I like camping, hiking, biking, target sports—outside stuff. I just started winter league trap and skeet, and I’ve been doing compound archery for over a decade now. I like to hunt and grow my own food; I haven’t bought four-legged animal meat more than a handful of times in the last five years. A sub-hobby from that is sausage-making—that’s a worldwide culture in itself.
If you could say one thing to NSO audiences, what would it be? Watch the bass section, and you’ll see how much fun we’re having. And thank you. Because you’re all here, I’m allowed to have my dream job.
This interview has been edited for length and clarity.
The mission of the National Symphony Orchestra is to engage audiences locally, across the country, and around the world through excellence in performance and education. Each year, the NSO offers approximately 150 concerts as well as some of the country’s most extensive community and educational programming. It regularly participates in events of national and international importance, including performances for state occasions, highlevel government events, and regularly televised holiday appearances for Capitol Concerts and local radio broadcasts on WETA, making the NSO one of the most-heard orchestras in the country.
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We’re celebrating the sounds of America, including the world premiere of an NSO commission by Karen LeFrak! In commemoration of the 250th anniversary of the signing of the Declaration of Independence, conductor Enrico Lopez-Yañez leads the NSO in a blend of new compositions and timeless orchestral works.
February 13 & 14, 2026 at 8 p.m.
Thomas Wilkins leads a true celebration of American music! The NSO presents the world premiere of Peter Boyer and Joseph Sohm’s American Mosaic, an NSO co-commission featuring stunning video imagery, live narration, and American melodies to celebrate the spirit of the United States for its 250th birthday.
February 19, 2026 at 7 p.m.
February 21, 2026 at 8 p.m.
February 22, 2026 at 3 p.m.
Nielsen’s Helios Overture follows the path of the sun across the sky, while the world premiere of Kennedy Center Citizen Artist Fellow Reena Esmail’s Double Concerto puts star siblings Gil and Orli Shaham center stage.
February 26, 2026 at 7 p.m.
February 27, 2026 at 11:30 a.m.
February 28, 2026 at 8 p.m.
American Mosaic
Thu., Feb. 19, 2026 at 7 p.m.
Sat., Feb. 21, 2026 at 8 p.m.
Sun., Feb. 22, 2026 at 3 p.m.
Shaham & Shaham play Reena Esmail
Robertson conducts Sibelius’ Fifth
Thu., Feb. 26, 2026 at 7 p.m.
Fri., Feb. 27, 2026 at 11:30 a.m.
Sat., Feb. 28, 2026 at 8 p.m.
Winter Daydreams: Noseda conducts Tchaikovsky’s First Trpčeski plays Saint-Saëns
Fri., Mar. 6 at 11:30 a.m.
Sat., Mar. 7 at 8 p.m.
Hahn & Woods play
Carlos Simon
Brahms’ Third
Thu., Mar. 12, 2026 at 7 p.m.
Fri., Mar. 13, 2026 at 8 p.m.
Sat., Mar. 14, 2026 at 8 p.m.
NSO Presents*
Alexandra Dovgan
Sat., Mar. 14, 2026 at 3 p.m.
Death and Transfiguration
Khachatryan plays Sibelius
Thu., Apr. 2, 2026 at 7 p.m.
Fri., Apr. 3, 2026 at 11:30 a.m.
Sat., Apr. 4, 2026 at 8 p.m.
Bruckner’s Seventh Gerlach plays Haydn Fri., Apr. 10, 2026 at 8 p.m.
Sat., Apr. 11, 2026 at 8 p.m.
Mozart’s “Jupiter” & Bach’s Brandenburg No. 1 Wed., Apr. 15, 2026 at 7 p.m.
Thu., Apr. 16, 2026 at 7 p.m.
Fri., Apr. 17, 2026 at 8 p.m.
NSO Presents*
Khatia Buniatishvili
Fri., Apr. 24, 2026 at 8 p.m.
Opera in Concert
Puccini’s Il trittico
Wed., Apr. 29, 2026 at 7 p.m. Fri., May 1, 2026 at 7 p.m.
Gaffigan conducts Ives and Copland
Fri., May 29, 2026 at 8 p.m.
Sat., May 30, 2026 at 8 p.m.
Cann plays Coleman Fri., June 5, 2026 at 8 p.m.
Sat., June 6, 2026 at 8 p.m.
Philip Glass’ “Lincoln”
Dalene plays Barber
Fri., June 12, 2026 at 8 p.m.
Sat., June 13, 2026 at 8 p.m.
*Please note: The National Symphony Orchestra does not perform in these concerts.
NSO Music Director Hans Kindler leads the Orchestra in a summer outdoor concert on a floating barge anchored at the foot of the stone steps below the Lincoln Memorial.
Harris & Ewing Collection, Library of Congress
NSO Music Director Mstislav Rostropovich conducts the NSO with guest soloist soprano Galina Vishnevskaya, his wife.
Music man Bobby McFerrin wowed Washingtonians when he conducted the National Symphony Orchestra concerts for families and school children.
Pianists John Browning, Sara Davis Buechner, Brian Ganz, Joseph Kalichstein, Lambert Orkis, and Jeffrey Siegel play Franz Liszt’s Hexameron with the National Symphony Orchestra conducted by Music Director Leonard Slatkin for the Piano 2000 festival.
Kendrick Lamar and the NSO led by Principal Pops Conductor Steven Reineke delivered a one-night-only performance featuring some of Lamar’s biggest hits and the first-ever live performances of music from his lyrical masterpiece “To Pimp a Butterfly.”
As the concluding event of Kennedy Center’s 50th Anniversary celebration, Leonard Bernstein’s MASS returned 51 years after its world premiere at the Center in a dynamic staging featuring the NSO, guest conductor James Gaffigan, and baritone Will Liverman in the role of Celebrant.
For 250 years, America’s story has been told through the voices of its artists, the rhythm of its music, the words of its writers, and the movement of its dancers. It is a story of resilience and reinvention, of dreams daring enough to redefine what was possible, and of creativity that has not only shaped a nation, but the world.
As the nation marks 250 years since the signing of the Declaration of Independence, the Center invites Americans everywhere to take part in 250 Years of US, a yearlong exploration of who we are, where we’ve been, and where we’re going. Through music, theater, dance, and visual art, 250 Years of US celebrates the boundless imagination of a people united by creativity.
These exquisite earrings bring Mozart’s masterpiece to life with fluteinspired details that create a visual symphony. $42
Our new National Symphony Orchestra cap and tee let you show your pride in our world-class symphony. $30 each
No better way to start your day than with a coffee mug imprinted with blank sheet music and sticker notes so you can compose your own melody. $20
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